In her spacious dance studio, Shobana is surrounded by beautiful artwork works — Kerala murals, intricate wood carvings, a self-made up to date work on Krishna and props for the stage. The magnificence round her informs her artistry, her considering. “I distinctly bear in mind an Ardhanareeshwara sculpture in Chitra akka’s (Chitra Visweswaran) dance corridor. I would maintain it — the mudras and the tilt of the physique. I would like my college students additionally to understand the finer issues in life. I have seen them gazing the artwork works in between class.”
Shobana is basically an intuitive artiste with out boundaries. “Creating rasa is my goal,” she says as phrases tumble out at an categorical tempo. “I am blind. I merely observe the music.”
While her coaching is in Bharatanatyam, underneath Chitra Visweswaran, and later underneath Padma Subrahmanyam, her imaginative and prescient extends far past, to different dance traditions and languages. She sees incorporating completely different flavours as a problem — it requires the agility of thoughts and physique to adapt to completely different postures and motion in fast transitions.
She feels Bharatanatyam is an easy artwork type that has the wherewithal to soak up outdoors influences. And is probably why this classical artwork type has modified the most over the final century as in comparison with the others. “Don’t ask what dance has executed for you, ask what you’ve executed for it?” she says emphatically.
Shobana’s raison d’etre is to take pleasure in herself. She enjoys completely different sorts of music — from classical and A.R. Rahman to Flamenco.
She is a insurgent, a handsome, proficient insurgent, nonetheless a insurgent who won’t settle for something at face worth. You inform her the heroine of the javali ‘Apaduruku’ is a mugda (younger lady) she’s going to argue. She says which younger, harmless lady will use sturdy phrases akin to ‘Ee paapi’ (which sinner…). She can be able to debate on the dichotomy between shringara and bhakti; she is a thinker, nothing will get previous her.
For inspiration, Shobana attracts on her experiences in movies, and on stage, and from the philosophy of her lecturers and her studying. Her Instagram posts throughout Covid have been well-received. She supplied snippets about padams, their age-appropriateness, the sakhi, danced to thavil and nagaswaram like the previous occasions, launched Kavadi Chindu, and so on. “Thirty seconds was the time accessible on Instagram. Into that small digicam that can’t afford even elbow motion, the whole lot needed to match, like in cinema. Now I am requested to bounce on stage for 2 and a half hours, it’s robust to modify again,” she says with fun.
As a performing artiste, Shobana feels she shares her life with the audience. And is dramatic about it, “If they don’t like it, I am crushed.”
Collaborating with Abhishek Raghuram
Shobana and Abhishek Raghuram are fairly tight-lipped about ‘Celebrating the Supreme’, a particular efficiency to mark the golden jubilee of Shriram Finance. All Shobana will say is, “This is a Krishna musical for the individuals who love Krishna and need to take pleasure in his birthday. The start line is the concept of celebration, the concept of Krishna; it wants superb music.”
She is worked up about working with a inventive musician as Abhishek. “Getting a advantageous singer like Abhishek is a private achieve for me. I look ahead to experimenting with him. So additionally Ananta R. Krishnan (percussion)”
Abhishek echoes comparable ideas. He has labored with Shobana earlier than, and says that over time artistes get to know one another resulting in extra experimentation and coordination. “If you attend the efficiency, you will note that there is no such thing as a curbing of manodharma sangeetham for me. With Shobana’s depth of understanding of music and rhythm, there’s a lot to study from our interplay.”
She guarantees a Mallari and a Swati Tirunal piece. There can be a mix of conventional and people dances, as they seize the many moods of Krishna. Alumni of her dance college from completely different components of India too will take part . We are certain there can be color, there can be Krishna, there can be vitality; however be careful for the little improvisations between the dancer and the knowledgeable musicians on stage. That can be the hidden deal with!
Shobana and Abhishek are joined by Sruti Sagar (flute), Praveen D. Rao (keyboard) and Sri Vidya (nattuvangam). Shobana has the final phrase, “The celebration can be about how I encourage all of them to create rasa with me.”